MAM
NBC, Volkswagen sign worldwide strategic marketing deal
MUMBAI: NBC Universal and Volkswagen have entered a multi-year global marketing alliance. As part of the partnership, Universal will incorporate Volkswagen’s products and brand, in its film, DVD, worldwide theme parks, and other entertainment properties.
According to media reports, the deal will cost Volkswagen an estimated $200 million and the company will support numerous media and entertainment related properties of NBC Universal through international marketing and promotional efforts. Both companies plan to develop mutual marketing programs.
“This will represent one of the largest and most comprehensive alliances in the entertainment industry and prepares the ground for new ways of reaching consumers on a global scale. Product placement and the movie industry are a growing factor in car promotion and Universal Studios is the most consistently successful movie studio in recent history. With their theme parks and their huge television section with NBC and other attractive TV stations, NBC Universal offers a highly attractive platform to promote our products and brand, which no other studio can offer,” said Volkswagen CEO Dr Bernd Pischetsrieder.
Universal Studios President and Chief Operating Officer Ron Meyer, on the other hand said, “We are very proud to be in business with a creative and dynamic company such as Volkswagen. Our historic alliance underscores how important corporate partnerships have become in attracting consumers around the world, and I believe that together we are in a unique position to capitalise on many new opportunities in the marketplace.”
“We are pleased to welcome Volkswagen as a marquee, NBC Universal partner. The Volkswagen product line is stylised, design-driven and contemporary and the perfect demographic match for our entertainment properties,” said Universal Studios Partnerships executive vice president Stephanie Sperber.
For Volkswagen this cooperation offers a wide range of opportunities including product placement, Volkswagen’s presence at Universal’s film premieres and home entertainment releases, common global media-based promotional campaigns, and theme park sponsorship and integration.
The deal also calls for Volkswagen to explore original TV programming and on-air film-related promotions. The initial focus of activities will be on the US and European markets where Universal will have access to a wide range of Volkswagen products for all prices and age groups, with approximately 20 different models under the Volkswagen brand.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
